Sacred Dance of India

Author(s): Mrinalini Sarabhai
Publisher: Bharatiya Vidya Bhavan

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Madhavi, the dancing heroine in the Seelapadıkaram, is a descendant of Urvashi, the divine dancer, and her first performance is described in detail The 'Thalaikol' was first bathed in the sacred waters and then taken in procession through the city in the temple car to the dance hall Madhavi was presented after her 'Arangetram' with a 'green-leaf garland and one thousand and eight Kalanjus of gold', which was the customary present given to dancers who held the 'Thalaikol' and exhibited their talents for the first time
Dancers used to study in a small room called the 'Sılambakoodam' in the Nattuvanar's house The floor was made of mud which is still the best surface for dancing Children used to begin their regular training when they were about seven years old, though they had already been watching the classes for some time in the beginning, a ceremony called 'thandiam pidital', literally meaning 'holding the stick' was performed The young people were initiated into the first steps of dancing by holding the stick over a scattering of paddy On this day, as on all festive occasions, presents were offered to the teacher
The first item of the Bharata Nātyam programme is the Alarippu or invocation It is a prayer to the Gods, to the gūrus (learned teachers), the vidwans (scholars) and the audience Only rhythmic syllables are uttered with the mrdangam (drum) and the galraz (cymbals) It is almost like the introduction into the form or pattern of the dance In Alarippu, the chanting of the syllables can be compared to the recitation in temple worship, which seems appropriate for this dance of prayer In olden days, the Alarippu was preceded by a musical overture called 'Melapraptı' in which the dance teacher participated by rhythmic utterances with musical accompanıments and this ended with a thanks-giving (mangalam) As in Kathakali, the musicians stood behind the dancer, the Nattuvanar in the centre keeping time with the cymbals, the percussion player on his right, and on the extreme left, the 'Sruthikar' (drone) The flutist and the other musicians stood behind the Nattuvanar
The Abhinaya Darpana, by Nandikeshwara, describes this in a verse "In the centre stands the dancer (patra), and on the night, the musicians, keeping time (taladhari) and on either side, the percussionists Bharata Natyam-Mallika
Petting the deer-Mallika
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